In Dialogue: Speculative Futures

Allison Glenn is a New York-based curator and writer focusing on the intersection of art and public space through public art and special projects, biennials, and major new commissions by a wide range of contemporary artists. For over fifteen years, Glenn has been devoted to realizing ambitious and experimental exhibitions and site-specific projects with artists working across the globe.

She gained broad acclaim for curating the pathbreaking 2021 exhibition Promise, Witness, Remembrance at Louisville, Kentucky’s Speed Art Museum. The exhibition reflected on the life of Breonna Taylor through the work of over twenty contemporary artists including Amy Sherald, Nari Ward, Bethany Collins, and Glenn Ligon. Glenn has held positions including Co-Curator of Counterpublic Triennial 2023; Visiting Curator, at The University of Tulsa, where she curated the Sovereign Futures convening; Senior Curator at New York’s Public Art Fund; and, Associate Curator of Contemporary Art at Crystal Bridges Museum of American Art.  In this role, Glenn shaped how outdoor sculpture activates and engages Crystal Bridges’ 120-acre campus through a series of new commissions, touring group exhibitions, and long-term loans by artists including Amanda Ross-Ho, Odili Donald Odita, George Sanchez-Calderon, and Rashid Johnson. She also held a curatorial position with New Orleans’ international art triennial Prospect.4: The Lotus in Spite of the Swamp.

Glenn has published widely, contributing essays to catalogs produced by The Los Angeles County Museum of Art, Counterpublic Triennial, Prospect New Orleans, Studio Museum in Harlem, Princeton Architectural Press, Neubauer Collegium, Crystal Bridges Museum of American Art, and periodicals including Artforum, ART PAPERS, Brooklyn Rail, Hyperallergic, and ART21 Magazine. Glenn sits on the Board of Directors for ARCAthens, an international curatorial and artist residency program. She received dual Master’s degrees from the School of the Art Institute of Chicago in Modern Art History, Theory, and Criticism as well as Arts Administration and Policy. She holds a Bachelor of Fine Art Photography with a co-major in Urban Studies from Wayne State University in Detroit.

Andrés Ramírez Gaviria is an artist born in Bogotá, Colombia, and based in Vienna, Austria. His work explores intersecting histories of science, philosophy, technology, communication, mysticism, programming, language, and translation. His practice reconfigures cultural and intellectual motifs through methodologies that propose alternative modes of perception and thought. Employing strategies such as reenactment, appropriation, telepathy, and transference, Gaviria highlights points of tension and dialogue between contemporary experience and shifting interpretations of historical knowledge.

His work has been exhibited at Kunsthaus Graz, Kunsthaus Dresden, BA-CA Kunstforum and BAWAG Contemporary in Vienna, Lentos Museum in Linz, GAMeC in Bergamo, the Caribbean Biennial in Santo Domingo, the Museum of Modern Art and the Museo de Arte del Banco de la República in Bogotá, La Casa Encendida in Madrid, as well as Sonambiente and Transmediale in Berlin, among others. He has participated in residencies at MuseumsQuartier in Vienna and the International Studio & Curatorial Program (ISCP) in New York.

Gaviria is the recipient of the Transmediale.06 Award and the Cisneros Fontanals Art Foundation Emerging Artist Award. Two monographs—Between Forms of Representation and Interpretation (Onomatopee, 2012) and A Line, However Short, Has an Infinite Number of Points (Triton, 2016)—have been published on his work. His writing has appeared in Leonardo, #Errata, Flash Art International, and other publications.

In 2014, he co-founded Sigmund, and in 2017 Anna, two non-profit exhibition spaces in Vienna, together with Norbert Pfaffenbichler. He also collaborates with Elisabeth Kihlström and Yuki Higashino on the journal Agency. Gaviria studied media theory at the University of Applied Arts Vienna and holds a BFA from Boston University and an MA from the Winchester School of Art, University of Southampton.

Carolina Fusilier (b. 1985, Buenos Aires; lives and works in Mexico) is a multidisciplinary artist whose practice explores the materiality of technology, non-linear temporalities, and post-human imaginaries at the intersection of organic and mechanical bodies, as well as industrial and domestic environments. Her work unfolds across moving image, film, painting, sound, performance, and site-specific installations.

She has received major international support, including the Pollock-Krasner Foundation Grant (2019), the Raúl Urtasun–Frances Harley Grant at The Banff Centre (2015), and production and research support from institutions such as ACC Cinema Fund and Hot Docs + Netflix. Her work in moving image and film has been presented at major international festivals and institutions including MoMA’s Doc Fortnight, IDFA, Yamagata International Documentary Film Festival, Dok Leipzig, DMZ Docs, and True/False Film Festival. Her short film Corrientes Mercuriales (2023) premiered at the New York Film Festival and received a Special Mention for Best Argentine Short Film at the Mar del Plata International Film Festival

Her recent solo exhibitions include IMAGO (Margot Samel, New York, 2025), Isla Eléctrica (PEANA, Mexico City, 2024), Corrientes Mercuriales (Museo Jumex, Mexico City, 2023), Clepsidra (Daniela Elbahara Gallery, Mexico City, 2021), Kitchen With a View (Locust Projects, Miami, 2019), and Angel Engines (Natalia Hug Gallery, Cologne, 2018). Her work has also been shown in group exhibitions and site-specific projects at Museo Tamayo, Museo Anahuacalli, MALBA Puertos, Museo de Arte Moderno de Buenos Aires, SculptureCenter, The Drawing Center, Mendes Wood DM, and Casa O’Gorman Nancarrow

Together with filmmaker Miko Revereza, she forms the collaborative duo Arquitectura Parlante, through which they develop long-term artistic and pedagogical projects that combine film, sound, and architecture. As part of this collaboration, they co-manage Cinema Antena, a micro-community cinema and educational space in San Agustín Etla, Oaxaca, recently supported by Patronato de Arte Contemporáneo. Alongside her artistic practice, Fusilier is actively engaged in teaching, lectures, and public programs focused on experimental cinema, sound, and critical approaches to technology and space.

She graduated from Universidad del Cine and has pursued further studies at the Kunstakademie Düsseldorf, SOMA, and Universidad Torcuato Di Tella.

Image courtesy of the artist.

Lindsay Katsitsakatste Delaronde is a Haudenosaunee woman from Kahnawà:ke and a member of the Wolf Clan. She is currently enrolled as a PhD student in the Indigenous Governance program and holds the Audain Professorship in the Visual Arts Department at the University of Victoria. As a multidisciplinary artist and scholar, she engages in Indigenous arts, culture and governance theory and research with the consciousness of the Haudenosaunee Confederacy woven into the essence of her being.

As a descendant of those who once built palisades, raised longhouses, and pounded corn, she is not separate from these cosmologies and teachings—she is their living, embodied constellation. She carries forward matrilineal knowledge, cultural resilience, and land-based traditions that have sustained her people for generations. This lineage shapes both her academic research and her artistic practice.

She holds a Bachelor of Fine Arts from Emily Carr Institute of Art & Design, a Master of Fine Arts from the University of Victoria, and a Master’s degree in Indigenous Communities Counselling Psychology, also from UVic. Her interdisciplinary education informs an artistic practice that is embodied, relational, and deeply attentive to emotional, cultural, spiritual and land-based ways of knowing.

Her artistic practice focuses on Indigenous dance and theatre, land-based dramaturgy, embodiment, performance, collaborative process, and decolonial methodologies. Through these practices, she explores the somatics of sovereignty, restores relational understanding, and reimagines Indigenous ways of making through ethical, relational, and culturally grounded approaches. Her work draws upon Indigenous aesthetics shaped by Haudenosaunee epistemologies, engaging themes of identity, politics, healing, resurgence, renewal, social responsibility, and human rights.

She weaves culture, art, history, ceremony, healing, spirituality, breath, song, movement, human development and mindfulness into the tapestry of the creative process to support the re-visioning of Indigenous futurities of hope and beauty. Transcending the intergenerational soul wound through the impasse of the radical creative spirit is what she strives to offer in her work.

Regina de Miguel is a filmmaker and interdisciplinary artist whose work explores how imaginaries, violence, and knowledge are produced, inherited, and materially grounded in territories understood as geotraumatic sites. Through films, installations, and hybrid projects, she questions the supposed neutrality of scientific images and devices, bringing maps, models, archives, and data visualizations into friction with speculative and narrative strategies. Writing and voice play a structural role, opening fissures in dominant languages and rehearsing alliances between human and non-human agencies. Her work has been shown internationally and is held in collections such as TBA21, Fundación “la Caixa”, and Museo Reina Sofía.